Crockstock 2022September 15, 2022
CLOSED for National Day for Truth and ReconciliationSeptember 28, 2022
In this three day workshop, Carol Gouthro will demonstrate her signature segmented mold making process that she uses to create her complex sculptural forms. Learning Carol’s innovative mold making technique will allow you to incorporate pleated, undulating and expressive forms into your ceramic vessels and sculptures.
No previous experience with plaster required.
$310 + GST
- 24 hour studio access
- Guided access to the Historic Clay District site
- Use of shop glazes and underglazes
Artist responsible for:
- Clay and Pottery Plaster- can be purchased on site at Plainsman Clay
- Various tools and materials (you will be notified of what to bring)
- Accommodations: Onsite housing is available at the BMO Artist Lodge for $220 + GST for 4 days (Check-in October 23, check out October 27). Fee includes a private room with double bed, shared bathrooms and communal living areas. For more information, click here.
A full refund (less a $25 administration fee) is available if you cancel by the registration deadline (October 17). If Medalta cancels, or if you need to cancel due to medical reasons (documentation required), you will receive a full refund. For cancellations 2 weeks prior to the workshop, a refund of 50% of the total fee is available. If you cancel within 2 weeks of the start of the workshop or during the workshop, we will be unable to issue any refund.
Consideration for Covid-19
Please note that there is a possibility that Medalta will need to cancel or postpone the workshops again.
For more information contact Amy Duval: firstname.lastname@example.org
I am a dual citizen of Canada and the United States. I was born in Winnipeg, Manitoba where I went to school, receiving my BFA with Honors degree with a major in Ceramics from the University of Manitoba School Of Art in 1976. Shortly after graduating I moved to Seattle where I began working at Pottery Northwest as a studio artist. I rented studio space there for 7 years, honing my skills, developing and exhibiting works, until I could afford to set up my own studio space. I have worked as a practicing studio artist and ceramics instructor for over 35 years. In Seattle my work has been represented by Francine Seders Gallery, Foster White Gallery, Pacini Lubel and now Gallery IMA. I have taught ceramics at Kirkand Arts Center and Seward Park Clay Studio for over 30 years and teach workshops at Universities and Art Centers nationally and internationally.
I am a ceramic artist. I sketch ideas for works on paper and often draw on the surface of my ceramic forms, however clay has always been the medium that I build in. At the core of my art work is the vessel, a form that has an ancient history and many meanings .For the past 20 years the vessel shapes in my work have been slowly evolving into sculptural, organic, biomorphic forms.
I am drawn to ornament, embellishment, color and pattern and I have a strong interest in detail. The ceramic surface remains very enticing to me. The transformative nature of ceramics, the process that happens when clay and glazes get fired in a kiln, fascinates and challenges me .When I start working on a new piece or body of work, I am building on what has come before. Often I am also responding to something that I have seen that captivates me. It might be something very small, a seed, or flower petal, or it might be something I have seen in my tool drawer like the elegant line of a plastic French curve. I create many 3d sketches, and these studies accumulate on my studio shelves over time and are often starting points for new work.
Sometimes it is language that motivates me. While I was building a garden for over 25 years, filling it with plants that inspired me, I also became enamored of botanical nomenclature. In the gouthroii series I have invented a genus of plants that I named after myself. Another time I came across the word Anthozoa describing sea anemones in a biology text. Anthozoa literally means ‘flower animal’. I became fascinated with the idea of flower animals and this lead to another body of work.
As I begin working on a new piece I am abstracting and translating many stimuli and feelings into a tangible, evocative object.